INTERNATIONAL ADVENTURES : GERMAN POPULAR CINEMA AND EUROPEAN CO-PRODUCTIONS IN THE 1960S PDF, EPUB, EBOOK

Tim Bergfelder | 288 pages | 01 Sep 2005 | Berghahn Books, Incorporated | 9781571815392 | English | Herndon, United States International Adventures : German Popular Cinema and European Co-Productions in the 1960s PDF Book Want to Read Currently Reading Read. Hailed at Cannes, Eroica reintroduced the high quality and unique style of Austrian cinema to the world for a brief time but it failed to encourage national government funding for film production at home. Attendance had fallen drastically: from Neale, Steve. From National to European Cinema Chapter 4. In state-sanctioned cinema, they sit in the dark and see how two people make it with each other, and they themselves are not seen. For the large Austrian and German exile community in Hollywood and the popularity of the Viennese Film with Hollywood studios that were remaking them for American audiences, such an creative and financial connection was feasible and desirable. Eating people, so producers combined them in a string of films where people had to contend with BOTH real cannibals and zombies. I subsequently completed my PhD there on 'The Internationalisation of the German Film Industry in the s and s' , and took up a teaching position at Southampton in where I have been based ever since, and where I have been promoted, first to Senior Lecturer, and later to full Professor. Be the first to ask a question about International Adventures. In its study of West German cinema's links and co-operations with other countries including Britain, France, and Italy, the book addresses what is perhaps the most striking phenomenon of s popular film genres: the dispersal and disappearance of markers of national identity in increasingly international narratives and modes of production. Counterculture artist Valie Export returned to a more traditional film form and emerged as one of the leaders of feminist filmmaking in Europe. Plexus Publishing Ltd, April Wien: Filmarchiv Austria, From National to European Cinema. With the coming of sound production in the early s, a unique film style and genre that would represent Austria's national film into the s was created -- the Viennese Film. Because the Austrian federal government refused to support filmmakers with the type of subsidies that had become the norm in other European countries, a initiative by the Vice Mayor of Vienna, Felix Slavik, led to the establishment of the Stadthalle productions, which would utilize Vienna's large modern city auditorium as a studio. Film Television and Internationalisation. A chronological listing of popular filoni with their peak years will give you an inkling of just how fluid and impermanent Post- WW2 Italian popular cinema was:. Lanham, Maryland: The Scarecrow Press, The king is dead; long live the king! While it suggests the capitalist exploitation of a romanticized imperial past in the Second Republic, Lhotsky's work also is a metafilmic commentary on the s imperial epic films, in which the audience desired to "costume" themselves in a mythic past for a few hours in a fantasy of identity, which must then be abandoned for Cold War reality. It was this largely artificial suffocation of Austrian film that allowed for the erroneous and widely spread notion that "there is no real film culture" [2] in Austria. Chapter 6. Working with her partner Peter Weibel, she created the " Tapp und Tastkino " "Touch Cinema," , which she called the "first real woman's film. Eleftheriotis, Dimitris. Italians had been making these sort of films since the silent era Cabiria , The Last Days of Pompeii , , , Spartacus , , Maciste , and revisited these glory epics of the teens with the first major breakthrough filone of the post-war period, the peplum or pepla for plural, which peaked between Droits d'auteur. But in the short memory of distributors, critics, film festivals and the world audience, Austria's apparent no-show in the international film market for almost three decades would seem to support such negative publicity. This process is experimental and the keywords may be updated as the learning algorithm improves. Nevertheless, posts filmmakers succeeded in attracting a younger generation whose parents had abandoned cinema during the decline of commercial product and in the period of Actionism and marginalized experimentation. Thus an important requirement of intermedia is fulfilled: the creative input of the projectionist. After losing the Tressler picture, Berger rose to fame in West German cinema and was a stylish foreign sex symbol in mids Hollywood and international entertainment before returning to West Germany and Austria to seek better parts and to work as a producer. Luckily, especially for the uninitiated, we have several thousand great and not so great filoni films to discover and rediscover; and from an historical standpoint Italy must be certainly acknowledged, along with the United States, as one of the great National producers of popular cinemas of the post-world war 2 era s to late s. Nenno , Brad Prager , Robert C. It resulted in arrests, psychological examinations, and jail sentences for the artists. View Table of Contents. Goodreads helps you keep track of books you want to read. Only German-born director Alfred Weidenmann managed, with some critical and popular success, to briefly re-Austrianize international co-productions along the lines of the sophisticated Willi Forst films of the s. Lists with This Book. International Adventures : German Popular Cinema and European Co-Productions in the 1960s Writer

Emo made comedies, and Gustav Ucicky's was responsible for social drama. Film Television and Internationalisation. What do the cannibal and zombie filoni have in common? International Adventures : German Popular Cinema and European Co-productions in the s Tim Bergfelder Berghahn Books , - pages 0 Avis West German cinema of the s is frequently associated with the emergence of a new generation of filmmakers, collectively known by the s as the "New German Cinema. The involvement of Hollywood's Universal Pictures in Austrian film after the nationalization of Berlin's film industry encouraged Vienna's official film council, Eugen Lanske to attempt a replacement for traditional German support with a stronger American role in Austrian film production. However, the term was only used for the first time ever in reference to film by Universal studios in to market their Gothic films Dracula and Frankenstein. International Adventures provides the first comprehensive account of these genres, and charts the history of the West German film industry and its main protagonists from the immediate post-war years to its boom period in the s and s. The mainstream Austrian film studios were forced to implement German racial laws to be able to export films to Germany and this encouraged a second Austrian film industry to emerge after , the independent Emigrantenfilm Emigrant Film. A strict creative hierarchy existed at Wien-Film: Willi Forst and Geza von Bolvary created the musical and the Viennese Film, actor-turned-director Hans Thimig directed theater and literary-based features, E. Film Television and Internationalisation. Meine Mediathek Hilfe Erweiterte Buchsuche. International Adventures firmly locates its case studies within the wider dynamic of European cinema. In his invaluable study on the giallo La Dolce Morte — one of the few English accounts of the filone as a theoretical term— Mikel J. These films not only demanded a sizeable mass of extras, it also employed a small army behind the cameras. Just feast your eyes upon all of these debut books to check out and emerging authors to By analyzing film genres in the context of industrial practices, literary traditions, biographical trajectories, and wider cultural and social developments, this book uncovers a forgotten period of German filmmaking that merits reassessment. Inspired by this success and the skills and resources to make them, the Americans made a series of big-budget peplum which employed Italian crews and craftsmen: Helen of Troy R. But this intention to contain and exploit, actually allowed many directors at Wien-Film to distance themselves from, and to some extent even subvert, National Socialist pan- German ideology with nostalgic images of Old Austria. Together the essays reexamine popular film production along with larger cultural, historical, and political meanings suggested by the term "popular. With Hitler's assumption of power in Germany in , National Socialists began their infiltration of the Austrian film industry. Prints of the film obtained by the Soviet occupation forces in Vienna were shown in Soviet cinemas throughout the s. Biographical dramas on figures from Austria's long imperial history provided satisfying entertainment for a new republic attempting to find a national identity. In its study of West German cinema's links and co-operations with other countries including Britain, France, and Italy, the book addresses what is perhaps the most striking phenomenon of s popular film genres: the dispersal and disappearance of markers of national identity in increasingly international narratives and modes of production. Books by Tim Bergfelder. In its study of West German cinema's links and co- operations with other countries including Britain, France, and Italy, the book addresses what is perhaps the most striking phenomenon of s popular film genres: the dispersal and disappearance of markers of national identity in increasingly international narratives and modes of production. With the coming of sound production in the early s, a unique film style and genre that would represent Austria's national film into the s was created -- the Viennese Film. At some point in the s American studios realized it would be more cost effective if they set up shop in Italy and make films there, rather than making big-budget films in the US and then exporting them. The Distribution Sector. Or…we can see filone …. Light Motives : German Popular Film in Perspective Randall Halle , Margaret McCarthy Wayne State University Press , - Seiten 0 Rezensionen Light Motives undertakes a long-overdue critical reassessment of German popular cinema, challenging the traditional view of German film history and offering new ways to think about popular cinema in general. More by Donato Email Donato Follow dtotaro1. Eating people, so producers combined them in a string of films where people had to contend with BOTH real cannibals and zombies. Enlarge cover. By , he held a monopoly in newsreel creation with his Sascha-Kriegswochenberich t. Return to Book Page. The film's theme of sacrificing love for art and its opulently stylized orchestration of historical Viennese setting, cinematography, music, and performance set the standard for the genre. Nicole Church rated it it was ok Dec 27, Berghahn Books Amazon. It attained such immense box office success and fan popularity in Austria and West Germany that it was followed with many sequels and imitations, until the original formula was eventually diluted with the pop music revue in the early s. Written and directed by Artur Berger, it depicts Vienna in the year with spectacular model sets the St. Apart from my book projects I have published numerous articles and chapters in collections and peer-reviewed journals. This service is more advanced with JavaScript available. Personalised recommendations. Community Reviews. International Adventures : German Popular Cinema and European Co-Productions in the 1960s Reviews

Return to Book Page. The Distribution Sector. The effect is that certain filone of the giallo will have a different stylistic and narrative emphasis. He built workshops that employed hundreds of women and men for the creation of costumes, wigs, beards, sandals, jewelry, flags, banners, and equipage. A growing interest in the new narrative style, in critical subject matter, and in local production indicated the path for Austrian filmmakers into the following decade and kept the theaters open. In its study of West German cinema's links and co-operations with other countries including Britain, France, and Italy, the book addresses what is perhaps the most striking phenomenon of s popular film genres: the dispersal and disappearance of markers of national identity in increasingly international narratives and modes of production. Following the war and the creation of the Austrian First Republic, Kolowrat founded the Sascha Film company and became known for his efforts to make postwar Austrian film universally appealing. Filmmakers Axel Corti, Reinhard Schwabenitzky, Paulus Manker, Robert Dornhelm, Houchang Allahyari, and Xaver Schwarzenberger also gained growing popular and critical attention for their cinema and television work in the s and 90s. Add your thoughts here The first of the new decade was made by the man who would provide posts Austrian cinema with its only lasting connection to the early postwar era, to the re-visioned traditions of the Viennese Film and the Heimat genres, and who would in fact, be the only constant in the faltering industry for the next three decades: Franz Antel. Details if other :. It found major success with audiences in France, England, and in Czechoslovakia, where it was voted Best Foreign Film of His first Agfacolor extravaganza would, however, not be completed until , and then in two distinct versions: an East German print assembled without his permission from the material stored in Berlin, and the later director's cut completed in Vienna. Books by Tim Bergfelder. Acclaimed young dramatic actors Maria Schell and Oskar Werner found careers in Hollywood and then in international films. It managed to promote and distribute the alternative films of its members and even broke through the export barrier that had severely limited the audience for Austrian film experimentation. Equally important during this period is the development of the contemporary Austrian melodrama. International Adventures provides the first comprehensive account of these genres, and charts the history of the West German film industry and its main protagonists from the immediate post-war years to its boom period in the s and s. By analyzing film genres in the context of industrial practices, literary traditions, biographical trajectories, and wider cultural and social developments, this book uncovers a forgotten period of German filmmaking that merits reassessment. He has a strong interest in interdisciplinary research, especially with regard to spatio-temporal data, narrative construction and computational systems. Prints of the film obtained by the Soviet occupation forces in Vienna were shown in Soviet cinemas throughout the s. Neither could compete in quality or popularity with the Italian- and Spanish-based "Spaghetti Westerns. As of January 1, , there were only cinema theaters in Austria as compared with 1, in , of which were in Vienna as compared with in Light Motives : German Popular Film in Perspective Randall Halle , Margaret McCarthy Wayne State University Press , - Seiten 0 Rezensionen Light Motives undertakes a long-overdue critical reassessment of German popular cinema, challenging the traditional view of German film history and offering new ways to think about popular cinema in general. Hannes Richter. Stephan's Cathedral engulfed by Bauhaus-style steel and glass skyscrapers , futuristic costumes, and what are ostensibly computer monitors. Although the film evokes a more rational future than its obvious influence, Fritz Lang's Metropolis Germany , its plot is less complex and more overtly political. Slater, Jason. The moss remains on the stones. Read more In his study Koven discusses how, depending on current interests, trends and cycles, particular giallo films could be seen intersecting with other neighboring areas: horror, the pure crime film —the poliziotto—, soft core, and exploitation cinema. As Jutta leads Mehlmann through the rooms of the castle and the family's past, the romantic ritual of imperial life is evoked, but Jutta also offers her memories of the execution of two deserters hiding at the castle in the final days of the Second World War. Its reflection of the Zeitgeist and its unique collection of talents, however, have made it a sociopolitical document of an era and a statement on the folly of broad internationalization in Austrian cinema. Last year we reported that "Austrian film production and cinema attendances are in a state of crisis. View Table of Contents.

International Adventures : German Popular Cinema and European Co-Productions in the 1960s Read Online

It predicts Hollywood's attempt to satisfy a broad international market with the image of the non-conformist nun in such musicals and comedies as The Sound of Music , The Singing Nun , and The Trouble with Angels Filmography of s Genre Cycles. Many production companies were founded in the immediate postwar years but the first actual studio to produce independently of Allied occupation restrictions was Belvedere Film, founded by August Diglas, former silent filmmaker Emmerich Hanus, and a young woman, the year-old opera singer and musician, Elfi Dassanowsky. In his study Koven discusses how, depending on current interests, trends and cycles, particular giallo films could be seen intersecting with other neighboring areas: horror, the pure crime film —the poliziotto—, soft core, and exploitation cinema. What are the benefits of filone over genre? This book is not yet featured on Listopia. Reimer , Christian Rogowski , Stefan Soldovieri. This is a preview of subscription content, log in to check access. The Austrian Film Archive managed to mount several well-attended retrospectives, ranging from G. For the Italian film industry, the experience of working with the US on these major films sparked the possibility of venturing into co-productions with other neighboring European nations, helping to reduce initial production costs while ensuring reciprocal distribution at least in the co-production country. International Adventures provides the first comprehensive account of these genres, and charts the history of the West German film industry and its main protagonists from the immediate post-war years to its boom period in the s and s. It was one of the few Austrian films of the period to be well distributed internationally and to attract American audiences. There are at least three inter-related factors that shape the differences between filone and genre, which I will address below:. Ulmer and Otto Preminger. The most internationally recognizable exponent of this alternative filmmaking is Valie Export, a photographer and performance and video artist who successfully made the transition from the "expanded cinema" experiments and abstract shorts of the mids to narrative feature films in the late s and beyond, as one of the inspirations to New Austrian Film. Equally important during this period is the development of the contemporary Austrian melodrama. Shot in black-and-white and color by Walter Kindler, Lhotsky's film interprets the Mitteleuropean meditations of Gerhard Fritsch with great poignancy. Michael Glawogger. Cable television was introduced in , and with the proliferation of home video recorders and films on video, there was a sense that the medium might well succeed in closing Austria's remaining cinema theaters. The desire to internationalize Austrian comedy spelled the rapid loss of true national film production, since most of these films aimed at broad export reduced actual Austrian cast and crew to less than a third. Inspired by this success and the skills and resources to make them, the Americans made a series of big-budget peplum which employed Italian crews and craftsmen: Helen of Troy R. Like so many overblown musical productions of the era — Star! A tabloid newspaper, Die Kronen Zeitung , launched a campaign against the film labeling it "perverse trash" and condemned the rare government subvention it received for supporting its "call to anarchy. Peter Cowie London: Tantivy, , p. One of the international pseudo-epics of the era, The Poppy is also a Flower , which had the most curiously grandiose pretensions of any Austrian film since Liebeneiner's 1. A strict creative hierarchy existed at Wien-Film: Willi Forst and Geza von Bolvary created the musical and the Viennese Film, actor-turned-director Hans Thimig directed theater and literary-based features, E. As provincial capitals also moved from tent cinemas to theaters, the Edison Cinema in Graz managed to outdo its Viennese rivals by boasting one of the largest screens in Europe. The lack of the beginnings of a Vienna-based "national" cinema until late in the first decade of the twentieth century actually helped foster the multicultural audience's appreciation for the wide palette of early cinema art that were seen in the Wanderkinos wandering tent cinemas that crisscrossed the Empire. These offered adult content unavailable on television but proved to be more popular abroad than at home. The genre that most benefited from the resources and skills of the Italian industry was the historical epic. West German cinema of the s is frequently associated with the emergence of a new generation of filmmakers, collectively known by the s as the "New German Cinema.

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